Mary Shelley's Frankenstein: A Classic Tale of Science and Gothic Horror

1. Mary Shelley’s FRANKENSTEIN By Patsy Brandenburg

2. The original title was Frankenstein; or, The Modern Prometheus. Prometheus was a mythological god who according to one story, steals fire from Jupiter to help the mortals on earth. Anotherversionofthismyth isthatPrometheusactually createsa human being by breathing life into a clay body. 1945

3. Mary Shelley’s novel wasn’t based on her dreams alone. In the early 1800’s, scientists were obsessed with finding a way to bring the dead back to life. Mary found this idea fascinating and kept current with all new science experiments taking place during her time. Luigi Galvani was one scientist that believed that “electricity” was the life force for living beings.

4. He would take dead animals and shock their bodies with high currents of electricity. The corpse would jolt when shocked with electrical currents. Luigi’s nephew, Giovanni Aldini, took the experiment one step further. In London, on January 17, 1803, he publicly performed this experiment on the corpse of a human being, a prisoner that had been executed by hanging.

5. Giovanni attached live wires to the corpse: 120 plates of zinc and 120 plates of copper. Giovanni reported, “the jaw began to quiver, the adjoining muscles were horribly contorted, and the left eye actually opened.”(Frankenstein, p. xx)

6. The muscles of the corpse were shocked to such a degree that the corpse appeared “animated” to the public. With Frankenstein, the sci-fierabegan. The novel contains the 3 elements essential for all sciencefiction work: (1)“it’s based on validscientificresearch; (2)gives a persuasiveprediction of what sciencemightachieve in the future; (3) and it offers a humanistic critique of the benefits and dangers of either the achievement or scientificthought.” (p. xx)

7. Ideas of the Enlightenment • Scientific observation of the outer world • Logic and reason; science and technology • Believed in following standards and traditions • Appreciated elegance and refinement • Interested in maintaining the aristocracy • Sought to follow and validate authority • Favored a social hierarchy • Nature should be controlled by humans

8. What is Romanticism? Romanticism is also a rejection of Classicism: the precepts of order, calm, harmony, balance, idealization, and rationality (logos!) were replaced with the subjective, the irrational, the imaginative, the personal, the spontaneous, the emotional, the visionary, and the transcendental (pathos!)

9. RomanticMovement: (1770-1870) This movement is not about “romance or love” but about disillusionedliberals who were tired of the common people being oppressed by tyrantrulers. This time period happens simultaneously with revolutions around the world: the American R. 1776, the FrenchR. 1789, the FrenchReignofTerror 1793, Napoleon is crowned Emperor--1804. Natureimagery is a keyelement in Romantic literature because human tyranny could notcontrolnature. For the Romantics, nature represented peace and they believed that all emotionalhealingcame from nature. [Nature imagery is abundant in Frankenstein.] Mary Shelley MaryShelley

10. Individualism Idealization of rural life Enthusiasm for the wild, irregular, or grotesque in nature Enthusiasm for the uncivilized or “natural” Romanticism Characteristics: The predominance of imagination over reason and formal rules Primitivism Love of nature An interest in the past Mysticism

11. Romanticism More Characteristics: Interest in human rights Sentimentality Melancholy Interest in the gothic

12. Gothic Literature: It’s an offshoot of Romanticliterature. “Along with nature having the power of healing, Gothic writers gave nature the power of destruction. Many storms arise in the book, including storms the night the creature comes to life… The most commonfeature of Gothicliterature is the indication of moodthrough the weather. When bad things are going to happen in a Gothic novel, the reader knows it because there is inevitably a storm outside.” (Grudzina) 1997

13. Gothic literature derives its name from its similarities to the Gothic medieval cathedrals, which feature a majestic, unrestrained architectural style with often savage or grotesque ornamentation (the word "Gothic" derives from "Goth," the name of one of the barbaric Germanic tribes that invaded the Roman Empire). • The vaulting arches and spires of Gothic cathedrals reach wildly to the sky as if the builders were trying to grasp the heavens; and the cathedrals are covered with a profusion of wild carvings depicting humanity in conflict with supernatural forces—demons, angels, gargoyles, and monsters.

14. In addition, Gothic literature is “a style of fiction, especially in the late 18th century and early 19th century, with historical and picturesquesettings, an atmosphere of mystery, gloom and terror, supernatural or psychologicalplotelements, with violent, gruesomedeaths.” (Webster) The setting is usually in medievalcastles built in the Gothicstyle (like McMurry University) of architecture—with secretpassageways, dungeons, and towers.

15. Gothic literature focuses on humanity’s fascination with the grotesque, the unknown, and the frightening, inexplicable aspects of the universe and the human soul. The Gothic "relates the individual to the infinite universe" (Varma 16) and creates horror by portraying human individuals in confrontation with the overwhelming, mysterious, terrifying forces found in the cosmos and within themselves. Gothic literature pictures the human condition as an ambiguous mixture of good and evil powers that cannot be understood completely by human reason. • Thus, the Gothic perspective conceives of the human condition as a paradox, a dilemma of duality—humans are divided in the conflict between opposing forces in the world and in themselves. • The Gothic themes of human nature’s depravity, the struggle between good and evil in the human soul, and the existence of unexplainable elements in humanity and the cosmos, are prominent themes in Frankenstein.

16. Supernatural/Gothic Literary Motifs A motif is a repeated theme, image, or literary device. Look for these common supernatural/Gothic motifs in Frankenstein.

17. The Double or Doppelganger (German for "double-goer"): Defined by Federick S. Frank as "a second self or alternate identity, sometimes, but not always, a physical twin. The Doppelganger in demonic form can be a reciprocal or lower bestial self or a Mr. Hyde. Gothic doppelgangers often haunt and threaten the rational psyche of the victim to whom they become attached" (435).

18. The double motif involves a comparison or contrast between two characters or sets of characters within a work to represent opposing forces in human nature. For example, Dr. Jekyll and his evil double Mr. Hyde are contrasted to represent the battle between the rational, intellectual self (Jekyll) and the irrational, bestial self (Hyde). The double motif suggests that humans are burdened with a dual nature, a soul forever divided.Double characters are often paired in common relationships, such as twins, siblings, husband/wife, parent/child, hero/villain, creator/creature, etc.

19. Forbidden Knowledge or Power/ Faust Motif:

20. Forbidden Knowledge or Power/ Faust Motif: Forbidden knowledge/power is often the Gothic protagonist’s goal. The Gothic "hero" questions the universe’s ambiguous nature and tries to comprehend and control those supernatural powers that mortals cannot understand. He tries to overcome human limitations and make himself into a "god." This ambition usually leads to the hero’s "fall" or destruction; however, Gothic tales of ambition sometimes paradoxically evoke our admiration because they picture individuals with the courage to defy fate and cosmic forces in an attempt to transcend the mundane to the eternal and sublime.

21. Monster/Satanic Hero/Fallen Man: The courageous search for forbidden knowledge or power always leads the hero to a fall, a corruption, or destruc- tion, such as Satan’s or Adam’s fall. Consequently, the hero in Gothic literature is often a "villain." The hero is isolated from others by his fall and either becomes a monster or confronts a monster who is his double. He becomes a "Satanic hero" if, like Satan, he has courageously defied the rules of God’s universe and has tried to transform himself into a god. Note: the mad scientist, who tries to transcend human limitations through science, is a type of Satanic hero that is popular in Gothic literature (examples include Dr. Jekyll and Frankenstein).

22. Multiple Narrative/Spiral Narrative Method: The story is frequently told through a series of secret manuscripts or multiple tales, each revealing a deeper secret, so the narrative gradually spirals inward toward the hidden truth. The narrator is often a first-person narrator compelled to tell the story to a fascinated or captive listener (representing the captivating power of forbidden knowledge). By revealing to us their own souls’ secrets, these narrators reveal the secrets of humankind’s soul.

23. Dreams/Visions: Terrible truths are often revealed to characters through dreams or visions. The hidden knowledge of the universe and of human nature emerges through dreams because, when the person sleeps, reason sleeps, and the supernatural, unreasonable world can break through. Dreams in Gothic literature express the dark, unconscious depths of the psyche that are repressed by reason— truths that are too terrible to be comprehended by the conscious mind.

24. Signs/Omens: Reveal the intervention of cosmic forces and often represent psychological or spiritual conflict (e.g., flashes of lightning and violent storms might parallel some turmoil within a character’s mind).

25. Robert Walton’s letters Frankenstein's story to Walton Creature's story to Frankenstein Structure and Point of View Frame Story Epistolary – carried by letters

26. Major Characters • Victor Frankenstein – protagonist, product of an idealistic Enlightenment education; fueled by possibilities of science and a desire for acclaim; becomes obsessed with creating life from spare body parts. Rational demeanor dissolves and by story’s end, consumed by primitive emotions of fear and hatred.

27. Major Characters • The Creature - never named; is Victor’s doppelganger (alter ego); Creature rationally analyzes the society that rejects him; sympathetic character, admires people and wants to be a part of human society; only results in violence when he is repeatedly rejected

28. Major Characters • HenryClerval – Victor’s childhood friend; true romantic, wants to leave mark on the world, but never loses sight of “the moral relations of things: • Elizabeth – adopted as an infant by Victor’s family; marries Victor • Robert Walton – Arctic explorer who’s obsessed with gaining knowledge and fame; rescues Victor in the Arctic; tells the story

29. Themes • Consequences of irresponsibility in the pursuit of knowledge • Consequences of pride • Consequences of society’s rejection of someone who is unattractive • Destructive power of revenge • Parent-child conflicts • Sympathy

30. Other Literary Elements • Irony – 2 major ironies • Creature is more sympathetic, more imaginative and more responsible to fellow creatures • Creature has many pleasing qualities but is an outcast because he’s not physically attractive

31. Symbols • White/light= knowledge • Water = knowledge • Ice = danger • Lightning = nature’s power • Nature = acceptance, nurturing, calm • Mountains= sublime in nature

32. Victor/creation Passion/reason Natural/unnatural Known/unknown Civilized/savage Masculine/feminine Beautiful/ugly Good/bad Light/dark Heat/cold Antithesis-Contrasts of ideas, characters, themes, settings or moods

33. Allusion • Paradise Lostby John Milton – story of man’s fall from innocence to painful knowledge; Victor can be compared to Adam, Satan, and Eve • The Rime of the Ancient Mariner by Samuel Taylor Coleridge, like narrator, tells story as a warning and a confession

34. Works Cited • Art.com. 1995. Online October 5, 2003. http://www.art.com • “Frankenstein.” U.S. National Library ofMedicine. 13 February 2002. Online. <http://www.nlm.nih.gov/hmd/frankenstein/ frank_celluloid.html>5 October 2003. • Grudzina, Rebecca. Teaching Unit: Individual Learning Packet. Cheswold: Prestwick House Inc., 2004. • Hamberg, Cynthia. “My Hideous Progeny: Mary Shelley’s Frankenstein.Google Images. October 27, 2004. 3 October 2006 <home-1.worldonline.nl/~hamberg/home2.html> • Shelley, Mary. Frankenstein. New York: Pocket Books. 1995.